In Divine Audacity, Peter Dillard presents a historically informed and rigorous analysis of the themes of mystical union, volition and virtue that occupied several of the foremost theological minds in the late thirteenth and early fourteenth centuries. In particular, the work of Marguerite Porete raises complex questions in these areas, which are further explored by a trio of her near contemporaries. Their respective meditations are thoroughly analysed and then skilfully brought into dialogue. What emerges from Dillard’s synthesis of these voices is a contemporary mystical theology that is rooted in Hugh of Balma’s affective approach, sharpened through critical engagement with Meister Eckhart’s intellectualism, and strengthened by crucial insights gleaned from the writings of John Ruusbroec. The fresh examination of these thinkers - one of whom paid with her life for her radicalism - will appeal to philosophers and theologians alike, while Dillard’s own propositions demand attention from all who concern themselves with the nature of the union between the soul and God.
Bach's organ works--the best-known of all music ever written for the instrument--have been the subject of a great variety of interpretations, all too often based on subjective opinion and conjecture. What the author does in this piece-by-piece commentary is to combine a performer's insight and experience with the fruits of scholarly research. He is concerned throughout to reconstruct for the modern performer and listener the original context of the work: its sources and history; its place in the composer's development; the implications of contemporary instruments and performing practice, and of the musical and aesthetic theories of the time; and the background which shaped Bach's view of the original chorale melodies. Each of the collections of organ chorales is examined as an entity in a preliminary essay. Then for each piece the author discusses the important sources and their relationship; quotes the underlying chorale melody and one or more verses of the text (with a literal translation) and describes its importance in the life of Bach's church; and analyses the form and style of the organ setting, with many musical examples and frequent allusions to the views of other commentators.
Studying with Husserl in Göttingen, becoming a Carmelite nun, and finally meeting her death in Auschwitz, the multifaceted life of Edith Stein (1891-1942) is well known. But what about her writing? Have the different aspects of her scholarship received sufficient attention? Peter Tyler thinks not, and by drawing on previously untranslated and neglected sources, he reveals how Stein's work lies at the interface of philosophy, psychology, and theology. Bringing Stein into conversation with a range of scholars and traditions, this book investigates two core elements of her thinking. From Nietzsche to Aquinas, psychoanalysis to the philosophy of the soul, and even the striking parallels between Stein's thought and Buddhist teaching, Tyler first unveils the interdisciplinary nature of what he terms her 'spiritual anthropology'. Second, he also explores her symbolic mentality. Articulating its poetic roots with the help of English poetry and medieval theology, he introduces Stein's self-named 'philosophy of life'. Considered in the context of her own times, The Living Philosophy of Edith Stein unearths Stein's valuable contributions to numerous subjects that are still of great importance today, including not only the philosophies of mind and religion, but also social and political thought and the role of women in society. By examining the richness of her thinking, informed by three disciplines and the tumultuous first half of the twentieth century, Tyler shows us how Edith Stein is the guide we all need, as we seek to develop our own philosophy for life in the contemporary world.
Warrior, mighty builder, and statesman, over the course of his 67-year-long reign (1279-1212 BCE), Ramesses II achieved more than any other pharaoh in the three millennia of ancient Egyptian civilization. Drawing on the latest research, Peter Brand reveals Ramesses the Great as a gifted politician, canny elder statesman, and tenacious warrior. With restless energy, he fully restored the office of Pharaoh to unquestioned levels of prestige and authority, thereby bringing stability to Egypt. He ended almost seven decades of warfare between Egypt and the Hittite Empire by signing the earliest international peace treaty in recorded history. In his later years, even as he outlived many of his own children and grandchildren, Ramesses II became a living god and finally, an immortal legend. With authoritative knowledge and colorful details Brand paints a compelling portrait of this legendary Pharaoh who ruled over Imperial Egypt during its Golden Age.
A German composer, organist, harpsichordist, violist, and violinist of the Baroque era, Johann Sebastian Bach is now generally regarded as one of the greatest composers of all time. Celebrated as the creator of the ‘Brandenburg Concertos’, ‘The Well-Tempered Clavier’, the ‘Mass in B Minor’ and countless other masterpieces of church and instrumental music, Bach’s sublime skill was his ability to adapt and perfect the principal styles and forms of previous generations. Delphi’s Great Composers Series offers concise illustrated guides to the life and works of our greatest composers. Analysing the masterworks of each composer, these interactive eBooks include links to popular streaming services, allowing you to listen to the pieces of music you are reading about. Evaluating the masterworks of each composer, you will explore the development of their works, tracing how they changed the course of music history. Whether a classical novice or a cultivated connoisseur, this series offers an intriguing overview of the world’s most famous and iconic compositions. This volume presents Bach’s masterworks in succinct detail, with informative introductions, accompanying illustrations and the usual Delphi bonus features. (Version 1) * Concise and informative overview of Bach’s masterworks * Learn about the classical pieces that made Bach a celebrated composer * Links to popular streaming services (free and paid), allowing you to listen to the masterpieces you are reading about * Features a special ‘Complete Compositions’ section, with an index of Bach’s complete works and links to popular streaming services * Includes six biographies - explore Bach's intriguing musical and personal life Please visit www.delphiclassics.com to browse through our range of exciting eBooks CONTENTS: The Masterworks Toccata and Fugue in D Minor, BWV 565 Violin Concerto No. 2 in E Major, BWV 1042 Cello Suite No. 1 in G Major, BWV 1007 Brandenburg Concerto No. 1 in F Major, BWV 1046 The Well-Tempered Clavier, Book 1, BWV 846 Concerto for Two Violins in D Minor, BWV 1043 Herz und Mund und Tat und Leben, BWV 147 Violin Concerto in A Minor, BWV 1041 Singet dem Herrn ein neues Lied, BWV 225 St. Matthew Passion, BWV 244 Orchestral Suite No. 3 in D Major, BWV 1068 Wachet auf, ruft uns die Stimme, BWV 140 Christmas Oratorio, BWV 248 Concerto for Violin and Oboe in C Minor, BWV 1060R Harpsichord Concerto No. 4, BWV 1055 Goldberg Variations, BWV 988 Great Eighteen Chorale Preludes, BWV 651-668 Mass in B Minor, BWV 232 Complete Compositions Index of Bach’s Compositions The Biographies Johann Sebastian Bach: His Life, Art, and Work by Johann Nikolaus Forkel Bach by Reginald Lane Poole Bach by C. F. Abdy Williams The Culmination of German Protestant Music: Johann Sebastian Bach by Edward Dickinson John Sebastian Bach by Harriette Brower Johann Sebastian Bach by Louis C. Elson Please visit www.delphiclassics.com to learn more about our wide range of exciting titles
This groundbreaking study catalogs Seti I's monuments and restorations, shedding new light on the internal chronology and history of the reign, the royal succession in the early Nineteenth Dynasty, the extent of Seti's building program and its place in history.
In Film Narratology, Peter W.J. Verstraten makes film narratives his primary focus, while noting the unexplored and essentially different narrative effects that film can produce with mise-en-scène, cinematography, and editing.
For thousands of years, art has interpreted the experience of war_its methods, human costs, and moral ambiguities_and has offered historians a wealth of testimony that is only beginning to be systematically explored. In this wide-ranging study, Peter Paret discusses forty-seven paintings and prints as complex documents of war in Europe since the Renaissance and as examples of the artist's use of war as a metaphor for the human condition. The images include works by such major artists as Uccello, Géricault, and Dix as well as academic history paintings and popular prints. By setting each in its historical environment and analyzing it from the perspective of the wars of its time, illuminates the place of war in Western consciousness and expands our understanding of works that are too often approached with little concern for the reality they depict or symbolically transform. Perhaps the most significant of the themes he traces over five centuries is the gradual change from the prince or general to the common soldier and civilian victim as central figures in the interpretation of war in art.
The relationship between Nazism and occultism has been an object of fascination and speculation for decades. Peter Staudenmaier’s Between Occultism and Nazism provides a detailed historical examination centered on the anthroposophist movement founded by Rudolf Steiner. Its surprising findings reveal a remarkable level of Nazi support for Waldorf schools, biodynamic farming, and other anthroposophist initiatives, even as Nazi officials attempted to suppress occult tendencies. The book also includes an analysis of anthroposophist involvement in the racial policies of Fascist Italy. Based on extensive archival research, this study offers rich material on controversial questions about the nature of esoteric spirituality and alternative cultural ideals and their political resonance.
This book explores the beginnings of the interior design profession in nineteenth-century France. Drawing on a wealth of visual sources, from collecting and advice manuals to pattern books and department store catalogues, it demonstrates how new forms of print media were used to 'sell' the idea of the unified interior as a total work of art, enabling the profession of interior designer to take shape. In observing the dependence of the trades on the artistic and public visual appeal of their work, Interior decorating in nineteenth-century France establishes crucial links between the fields of art history, material and visual culture, and design history.
Central to the repertoire of Western art music since the 18th century, the symphony has come to be regarded as one of the ultimate compositional challenges. Surprisingly, heretofore there has been no truly extensive, broad-based treatment of the genre, and the best of the existing studies are now several decades old. In this five-volume series, A. Peter Brown explores the symphony from its 18th-century beginnings to the end of the 20th century. Synthesizing the enormous scholarly literature, Brown presents up-to-date overviews of the status of research, discusses any important former or remaining problems of attribution, illuminates the style of specific works and their contexts, and samples early writings on their reception. The Symphonic Repertoire provides an unmatched compendium of knowledge for the student, teacher, performer, and sophisticated amateur. The series is being launched with two volumes on the Viennese symphony. Volume IV The Second Golden Age of the Viennese Symphony Brahms, Bruckner, Dvorák, Mahler, and Selected Contemporaries Although during the mid-19th century the geographic center of the symphony in the Germanic territories moved west and north from Vienna to Leipzig, during the last third of the century it returned to the old Austrian lands with the works of Brahms, Bruckner, Dvorák, and Mahler. After nearly a half century in hibernation, the sleeping Viennese giant awoke to what some viewed as a reincarnation of Beethoven with the first hearing of Brahms's Symphony No. 1, which was premiered at Vienna in December 1876. Even though Bruckner had composed some gigantic symphonies prior to Brahms's first contribution, their full impact was not felt until the composer's complete texts became available after World War II. Although Dvorák was often viewed as a nationalist composer, in his symphonic writing his primary influences were Beethoven, Schubert, and Brahms. For both Bruckner and Mahler, the symphony constituted the heart of their output; for Brahms and Dvorák, it occupied a less central place. Yet for all of them, the key figure of the past remained Beethoven. The symphonies of these four composers, together with the works of Goldmark, Zemlinsky, Schoenberg, Berg, Smetana, Fibich, Janácek, and others are treated in Volume IV, The Second Golden Age of the Viennese Symphony, covering the period from roughly 1860 to 1930.
Using the events of May '68 as a historical touchstone, this book examines the political ramifications of the literary, philosophical, and psychoanalytic work known as French theory.
In the present book, the path of suffering of a person affected by a schizophrenia over a time period of almost three decades is described. By means of stirring and detailed reports, the profound symptoms and phenomena of the disorder of a psychosis from the schizophrenic group are authentically brought closer to the reader. Thereby, not only a detailed account of the acute phase and its prehistory is given, but also therapeutic efforts made over a time period of almost 25 years after the onset of this sickness are illuminated. After manifold experiences made over many years and accompanying healing work, the author finally succeeded in decoding possible causes and spiritual operating principles of this disorder in the framework of a holistic approach on the basis of intensive introspection and inspired insights and to walk eventually the path of healing. This book is aimed at each one who is interested to get a first-hand account of the diverse symptoms and phenomena of this mysterious disorder combined with an innovative interpretation, which is completely unique owed to the outstanding distinct power of observation and logical thinking of the author.
Hymns are lasting expressions of faith and worship. Hymns in German piety were written to serve as meditations and to teach individuals how to become better followers of Jesus. This volume examines the thinking and influences which shaped the hymns which the Brethren chose to write and sing, revealing a great deal to the modern reader about their journey of faith and the spiritual progress of the movement from its beginnings to the present day. Specific attention is given to examples of hymn texts which highlight the distinctive themes and characteristics of Brethren spirituality in the various eras of Brethren life and thought.
Since the appearance of its first edition in Germany in 1979, A History of German Literature has established itself as a classic work used by students and anyone interested in German literature. The volume chronologically traces the development of German literature from the Middle Ages to the present day. Throughout this chronology, literary developments are set in a social and political context. This includes a final chapter, written for this latest edition, on the consequences of the reunification of Germany in 1990. Thoroughly interdiscipinary in method, the work also reflects recent developments in literary criticism and history. Highly readable and stimulating, A History of German Literature succeeds in making the literature of the past as immediate and engaging as the works of the present. It is both a scholary study and an invaluable reference work for students.
From 1933 to 1935, Ita Wegman was confronted by both Nazi fascism and internal crises in the General Anthroposophical Society. During those years, she traveled to Palestine in the fall of 1934 following a grave illness that nearly ended with her death. Her correspondence during this period, as well as her notes on the trip, reveal the great biographical importance to her of these travels and indeed the whole scope of her spiritual experiences in 1934. Ita Wegman had unambiguous perspectives and a uniquely clear view of both the political threat and her social-spiritual task during this period. There was, however, a radical change in her inner stance toward the opposition, aggression, and defamation she encountered within anthroposophic contexts in reaction to her intense, purely motivated efforts. She tried to live and work in true accord with her inner impulses and, ultimately, with Rudolf Steiner’s legacy, especially within the anthroposophic movement. Doing so, she increasingly found her way to her own distinctive and uncompromising path. The author reveals the general nature of those three years—a period whose distinctive spiritual and Christological task and dramatic dangers Rudolf Steiner had foreseen in 1923: “If these men [the Nazis] gain government power, I will no longer be able to set foot on German soil.” Ita Wegman’s efforts in 1933 to confront the dark powers of National Socialism and the convulsions in Dornach, which she experienced firsthand, as well as her subsequent illness and the clarity of her “Christological conversion” in 1934 to ’35, reveal a very specific, intrinsically comprehensible and forward-looking quality whose spiritual signature is clearly prefigured in Rudolf Steiner’s spiritual-scientific predictions. In this book, Peter Selg focuses exclusively on Ita Wegman, her development, and her words, simply presenting the processes she went through and, implicitly, their extraordinary spiritual nature, without any attempt at interpretation. This focus arises from the governing premise that the mysteries of a great life such as that of Ita Wegman reveal themselves in the details. Tracing the subtle steps in her life allow us deeper insight into Ita Wegman’s being. She herself wrote, “In general meetings or gatherings, people always understood me poorly because I lacked a smooth way of expressing myself. But people of goodwill always understood what I meant.” This book was originally published in German as Geistiger Widerstand und Überwindung. Ita Wegman 1933–1935 by Verlag am Goetheanum, Dornach, Switzerland, 2005.
A new pastoral contribution on the enduring subject of confession in Christian life. Confession: The Healing of the Soul is not just about what is termed sacramental confession. Its frame of reference is much wider and includes discussion of those celebrated writers who wrote confessions – Augustine, Kierkegaard, Tolstoy, Foucault, Freud, Jung, John of the Cross and Wittgenstein. This book will be of interest to all Christians of any denomination who engage in sacramental confession – clergy but also pastoral workers and those millions who actually attend confession as part of their lives. In the post-Freudian age confession of any kind has had a bad press but is now coming back into popularity as guilt and sin become helpful concepts. Peter Tyler, an author and practicing psychotherapist, argues that rather than being something to consign to the rubbish heap of history, confession offers unexplored potential for the healing of the postmodern soul. The book addresses all those engaged in psychotherapeutic and healing practices and ministries.
This is the first study to demonstrate the impact of Puritan literature on the development of German language and literature in the seventeenth century and beyond. It crosses the boundaries of theology, literature, and the English and German traditions to show that eighteenth-century secular thinking on introspection, psychology and subjectivity has its roots in vocabulary used in Germany as early as 1665 through the translation of figures such as Daniel Dyke and Richard Baxter. The book concludes with insights on John Bunyan, whose works inspired writers of the Geniegeneration such as Lenz, Wieland, Moritz and Jung Stilling.
The theme of the split self -- defined as a division of personality between an emancipated adult incapable of love and a child still endowed with this basic capacity but oppressed by the father figure -- is analyzed in a series of works of German literature.
In the decades leading up to the Civil War, most Americans probably encountered European classical music primarily through hymn tunes. Hymnody was the most popular and commercially successful genre of the antebellum period in the United States, and the unquenchable thirst for new tunes to sing led to a phenomenon largely forgotten today: in their search for fresh material, editors lifted hundreds of tunes from the works of major classical composers to use as settings of psalms and hymns. The few that remain popular today millions have sung "Joyful, Joyful We Adore Thee" to Beethoven and "Hark, The Herald Angels Sing" to Mendelssohn are vestiges of one of the most distinctive trends in antebellum music-making. Gems of Exquisite Beauty is the first in-depth study of the historical rise and fall of this adaptation practice, its artistic achievements, and its place in nineteenth-century American musical life. It traces the contributions of pioneering figures like Arthur Clifton and the impact of bestsellers like the Handel and Haydn Society Collection, which helped turn Lowell Mason into America's most influential musician. By telling the tales of these hymns and those who brought them into the world, author Peter Mercer-Taylor reveals a central part of the history of how the American public first came to meet and creatively engage with Europe's rich musical practices.
This third volume of Peter Selg’s comprehensive presentation of Rudolf Steiner’s life and work begins with Steiner’s invitation to lecture in the Theosophical Society during the summer of 1900. From the outset of his theosophical involvement, Steiner was resolved to serve and develop the Western path to the spirit, traversed in full, conscious clarity of thought. He was therefore critical of the tendency to avoid the modern standards of a sound knowledge process in matters of spirituality and esotericism, and instead emphasized the importance of idealist philosophy as groundwork for understanding spiritual cognition. (“Whoever speaks of the coldness of the world of ideas can only think ideas, not experience them. Those who live the true life in the world of ideas feel in themselves the being of the world working in warmth that cannot be compared to anything else.” —Rudolf Steiner, Goethe's World View) Although his approach did not always harmonize with theosophical pursuits, Rudolf Steiner recognized the sincere striving at the basis of this movement and agreed to take on increasingly greater responsibility for the German Section. Marie von Sivers, who would later become his wife, was his most supportive colleague during this time. At a decisive juncture, Steiner broke from the Theosophical Society to found the Anthroposophical Society, through which he would continue the development of modern spiritual science more freely in accord with his original intentions. This volume covers the period during which Steiner wrote some of his foundational works: Christianity as Mystical Fact, Theosophy, Knowledge of the Higher Worlds, and An Outline of Esoteric Science. Peter Selg also describes the building of the first Goetheanum in Dornach as an artistic embodiment of esoteric wisdom, giving rise to an international working community, as well as the performance of the mystery dramas and Rudolf Steiner’s profound Christological lectures known as the Fifth Gospel.
With the stock market collapse, Daniel's year-long quest to warn people about the imminent crash and its consequences has ended. He has been vindicated for the mockery and scorn that were heaped upon him, but he feels that he has failed because he had not convinced more people to leave the market. There is little satisfaction in being right when people have lost their life savings and more. To visit the New York Stock Exchange where hundreds of men are standing silently in the streets, or sitting on the curbs crying, embarrassed, dejected, and dispirited brings Daniel only pain. He receives threatening letters and is physically attacked by those who believe that he has caused the market's collapse and their misfortune. Through his own strong-willed determination and the support of his family of friends, Daniel begins to make the transition from warning people to providing relief for those who have already or soon will become victims of the imminent depression. And yet, Professor Vogel is even more determined to discredit and destroy him.
Anton Heiller: organist, composer, conductor' provides an assessment of Heiller's works and teaching, while also examining his complex personality, one torn between strong religious devotion and the world of artistry. The narrative also offers a unique view of the organ world in the decades after World War II, featuring the important organs, builders, and organists across North America and Europe."--The rear cover.
Yes, that is the Christ. This i.s how my .spirituaL eye perceived him in Pal.e.stine.' -Rudolf Steiner, speaking of his sculpted figure of Christ Rudolf Steiner referred to the wooden 'group' sculpture of the figure of Christ surrounded by adversary spiritual beings as the centre of the first Goetheanum. Steiner even told the architect of the second Goetheanum that the sculpture he made with Edith Maryon should occupy the same central position 'as in the first building'. What was Rudolf Steiner's essential aim for the sculptural group within the Mystery building he conceived, and why did he regard it as the crown of the building? What were Steiner's intentions -and, specifically, what were the spiritual aims behind this remarkable depiction of Christ? Rudolf Steiner described the core task of anthroposophical spiritLlal science as preparing for Christ's reappearance in the etheric realm. The Christ he sculpted was not the possession of a specific community with a religious world view, but rather a being
Step into Ernst Wolzogen's Motley Theater, Max Reinhardt's Sound and Smoke, Rudolf Nelson's Chat noir, and Friedrich Hollaender's Tingel-Tangel. Enjoy Claire Waldoff's rendering of a lower-class Berliner, Kurt Tucholsky's satirical songs, and Walter Mehring's Dadaist experiments, as Peter Jelavich spotlights Berlin's cabarets from the day the curtain first went up, in 1901, until the Nazi regime brought it down. Fads and fashions, sexual mores and political ideologies--all were subject to satire and parody on the cabaret stage. This book follows the changing treatment of these themes, and the fate of cabaret itself, through the most turbulent decades of modern German history: the prosperous and optimistic Imperial age, the unstable yet culturally inventive Weimar era, and the repressive years of National Socialism. By situating cabaret within Berlin's rich landscape of popular culture and distinguishing it from vaudeville and variety theaters, spectacular revues, prurient "nude dancing," and Communist agitprop, Jelavich revises the prevailing image of this form of entertainment. Neither highly politicized, like postwar German Kabarett, nor sleazy in the way that some American and European films suggest, Berlin cabaret occupied a middle ground that let it cast an ironic eye on the goings-on of Berliners and other Germans. However, it was just this satirical attitude toward serious themes, such as politics and racism, that blinded cabaret to the strength of the radical right-wing forces that ultimately destroyed it. Jelavich concludes with the Berlin cabaret artists' final performances--as prisoners in the concentration camps at Westerbork and Theresienstadt. This book gives us a sense of what the world looked like within the cabarets of Berlin and at the same time lets us see, from a historical distance, these lost performers enacting the political, sexual, and artistic issues that made their city one of the most dynamic in Europe.
A national bestseller "A magisterial contribution to the history of ideas. A fresh, illuminating perspective on one of the pivotal figures of our time." —J. Anthony Lukas "[This] remarkable biography… briskly traces the story of Freud's life and education, deftly weaving the familiar narrative with a style that makes it seem fresh and lively." —Chicago Tribune
The most recent mystical theology scholarship - a discipline that has found new energy and influence. This is examined through the lens of Wittgenstein's philosophy.
In the fall of 1620, Pilgrims aboard the Mayflower sailed across the ocean from Plymouth, England, to start a new life in what became Plymouth, Massachusetts. They brought along lots of supplies and animals too, including a mighty mastiff. Based on the real dog that braved the Atlantic with the first settlers comes the story of Grace, who bonds with a young boy along the adventurous journey. The Mighty Mastiff of the Mayflower presents a fresh--and furry--view of one of the most famous American stories, as author Peter Arenstam and illustrator Karen Busch Holman tell of Grace's struggles with new surroundings and the home she left behind
Few operas have had more written about them than The Magic Flute, yet few are as often exposed to misguided comment - or to idiosyncratic productions. This book sets out to provide a straightforward account of Mozart's last opera, exposing the half-truths and legends that have proliferated since its first production in 1791. In the first chapter a hitherto unsuspected source for the opening scene is presented and Branscombe reveals the complex relationship between the stories, essays and stage-works on which the plot is based. The second chapter studies the intellectual background, with special attention to Freemasonry. A detailed synopsis follows, then the history of the composition, based on documentary evidence and, in the case of the autograph score, the paper-types used. Chapter 5 examines the identity of the librettist and the qualities of his work, and chapter 6 is a detailed study (by Erik Smith) of Mozart's music and more generally of his late style. Chapter 7 covers the first performance, the cast, early reception, and then the rapid growth in the opera's fame; an outline history of productions concludes the chapter. Anthony Besch discusses the nature of the challenge to the director presented by Die Zauberflöte and suggests how the problems can be overcome. The book contains illustrations, a synopsis, bibliography and discography and will be of interest to music students, scholars and opera-goers.
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